source 2: full circle arts evaulation

Source 2 Evaluation

…of an holistic capacity building programme for disabled young people and artists, covering; arts professional development planning, mentoring, arts projects with young people, an intensive young disabled people’s development programme and Information and advocacy.

F U L L C I R C L E A R T S

Source

Contents

Background 1

Source 8

Mentoring 9

Source Artists…including Professional Development Planning 23

Source Young Artists …including pilot Hub 4 41

Source:it 79

Conference event never Dive Alone 87

Participatory Arts Projects 100

Partnerships 103

Some Statistics 106

F U L L C I R C L E A R T S

Background

Full Circle Arts and The Source Programme

In Early 2007 Full Circle Arts began a two year programme developing areas of our

original Source initiative, an holistic approach to inclusion for disabled young people and

disabled artists in our arts and cultural industries. Based firmly on listening to, working

with and research into the needs and aspirations of disabled people interested in the arts, arts training or as practising disabled artists the programme is firmly entrenched in

principles of inclusion.

It is about building bridges not silo’s

Research, active listening and working closely with disabled young people and disabled

artists gave us a clear focus - to work on building sustainable, long term support to

inclusion within the ‘mainstream’ for disabled practitioners, young people and disabled

arts students (whatever age). Built on practice, findings and research before we initiated

Full Circle Arts Source2 Evaluation

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slide from FCA’s Never Dive Alone event showing our journey

the programme, we continued to gather, the voices of disabled people themselves throughout the programme, the development, outcomes and future plans are based on

their feedback, needs, wants and observations of their barriers and practice. Hence

we make no apologies for not focusing on building a platform for the production or

showcasing of disability or Deaf arts, we do support artists wishing to develop their

practice within this genre, but the overwhelming demand was for ongoing, mostly face

to face sometimes one-to-one support for inclusion in development, training, peer practice and employment opportunities that many non-disabled people take for

granted. (please see our research findings within the report).

The Source programme is also an attempt to address inequalities seen in wider

research and Government statistics which show how excluded disabled people are. For example disabled people make up 18.6% or 1 in 5 of the UK population and 1.3

million are ready for and able to work but not in employment. Only half 50% of

disabled people of working age are in work, compared to 80% of non-disabled people.

Disabled people’s education and training opportunities are such that 23% of disabled

people have no qualifications compared to 9% of non-disabled people. (1*) In the funded arts sector only 2% of the workforce is a disabled person. Only 4% of disabled

people serve on the Boards of arts organisations (2*) and outside ‘disability arts

festivals’ there is still meagre representation of disabled artists work.(1* Office for National Statistics Labour Force Survey, Jan - March 2009 2* Arts Council England Disability

Equality Scheme Annual Report 2007/8)


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“I am still on the outside looking in, we fought long and hard for an end to special

eduction, but if you want to be involved in the arts there is little that is inclusive about any development opportunities, you are expected to be segregated into

‘special arts’ but I ‘d rather be on the inside, involved, taking part in what my non

disabled arts friends are involved in”.

“Its not just about access, I can get in the door but I’m still not included”

Disabled participants at FCA’s artists development day 2008

Jazz

“Its tough to define, but I know it when I hear it.”

Miles Davis 1984

Inclusion like Jazz is difficult to describe

but you feel it when its there

Inclusion is about ALL of us

Inclusion is about living full lives - about learning to live together.

Inclusion treasures diversity and builds community.

Inclusion is about our 'abilities’ or gifts and how to share them.

Inclusion is NOT just a 'disability' issue.

Inclusion is about creating & sharing tools, resources, capacities, so we can all live full lives

Inclusion is a process not a product

A truly Inclusive organisation knows:

Our deepest connections have to do with our fears, uncertainties and powerlessness

Recognises we are all profoundly influenced by poverty, racism, homophobia, disabilism, and takes responsibility for this

Has structures for making space and time to answer the question ‘What do you do when you don’t know what to do’

Recognises the wisdom for being human is widely distributed


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Challenging the way we work.

To be effective and to work to address disabled people’s expressed needs, wants and

aspirations in the arts, Full Circle Arts had to challenge and examine our own practices.

Much work has been done around inclusion mostly by the Inclusive Education

Movement and the Independent Living Movement. In the Arts there is little that could

be said to work on the fundamental principles of inclusion. Most activity has taken place around either ‘access‘, one off, time limited, segregated disabled people’s arts projects,

or disability and Deaf arts.

The struggle for full inclusion is an ongoing challenge. It is assumed that all members of

society should be given the opportunity to express themselves through the medium of their choice, but the assumption is rarely practiced. It is evident that barriers to

inclusion are erected within many cultural and educational institutions, motivated by

fear and ignorance; fear of losing control and ignorance of the facts, which allow an

acceptance of difference. This is exemplified as young disabled people are placed within

institutions, segregated arts projects and discrete settings, unable to participate in the artistic educational and development provisions/opportunities of their choice. The

choice could mean that they do not wish to participate in the arts or creative thinking,

but at least they have been given the opportunity to take part in their own decision

making process. It is important that individuals are able to express themselves more

freely. In one sense this will assist in their development as human beings and it will stimulate ideas and in another, perhaps more significant, sense they will have fun

realising their potentials.


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“ The problem is never imagining the dream. The problem is

forgetting old habits and ideas - Everyone needs a formal

forgetting strategy” - Tom Peters

Inclusion

Back in 1998 Chris Gathercole (North West Training and Development Team) usefully

itemised some of the characteristics that could be seen as the hallmark bureaucracy.

The bureaucrat will respond to the wishes of disabled people by:

Keeping people ignorant about their rights “What people don’t know will not hurt them”.

Refusing to take risks for a service which they know is needed. “It’s more than my job’s worth”.

Refusing to help people speak up about their needs. “It’s better not to make waves”.

Being reluctant to refer people to genuinely independent advocates or support networks which are promoting change and choices.“These troublemakers will make things harder for us.”

Refusing to involve people in planning for their own needs. “Experts know more about these things than you do, so leave it to us”.

Blaming people for their lack of progress and getting individuals to take responsibility for the systems failure. “We’re doing everything we can to help you, but you refuse to do what we say”.

Becoming personally and professionally offended when you try to make them accountable. “You should be more grateful for what we are offering you”.

Demonstrating an extreme resistance to change as this is seen as a threat to the continued existence of the system. “We have been operating in this way for years and you are the first person to complain about this.”

Protecting money and resources as if it were their own. “We could not possibly afford to pay for what you are asking for.”


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Assuming that there is only one route which is fixed for all time and takes no account of individuals changing needs. “We have given you this and we will review it in five years time, so don't ring us we will ring you”

These universal features of bureaucracy can be disabling for many people who are

looking for a change in attitude and practice towards their inclusion. They are also in

marked contrast to the principal of “public service” (1*) which we would argue is based

upon a recognition of individuality and diversity of needs amongst the people that seek

to use our cultural services. ( 1* John Holden in Democratic Culture cites the role of those

working in the publicly funded arts as that of Public Servant).

Young participant of the Remix

project playing the piano

A dance workshop Visual arts workshop with a young

participant painting a papier

maché structure

For example people working in the funded arts sector, in supporting the wishes of disabled people wanting to have their contributions received and their aspirations

acknowledged will:

Encourage people to be well informed about their rights “The more you know what you are entitled to the more we will be able to help you.”

Show a willingness to take risks, in order to provide a more effective service. “Even if this means upsetting some of our procedures it will improve the service we are here to provide.”

Encourage people to speak up for themselves and to access independent advocates and support groups.“These people may be able to help you get a better deal than what is on offer at the moment.”


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Involve people in planning for their needs. “You are the expert on your own situation and your own needs.”

Avoid making judgements or placing blame on the individual.“We do not see you as the problem but an essential part of the solution.”

Promote the individual's self confidence and encourage them to become better advocates for themselves and others. “What you have learned about this particular situation is not only helpful to us but we can use it to the benefit of others using this service.”

Engage with people in an ongoing dialogue, recognising that needs change over time and that plans have to adapt to meet those changing needs. “If you have any further questions or the situation changes please don't hesitate to contact us.”

Acknowledge weaknesses and inherent barriers within the system.“I recognise the system has failed you in this and that the system is unjust and needs to change. How can we make a joint argument for such a change?"

Clearly, administration is necessary to a public service and to support progress towards inclusion. However, where accountability, accessibility, compassion and an overriding

respect for the individual are seen as less important than a respect for rules and

procedures, the bureaucracy must be directly challenged and reformed. We have to

ensure that disabled people achieve the right to go to their local arts projects, cultural

buildings and take part in every aspect of the arts with appropriate support if necessary. This philosophy of Inclusion can only be achieved in practice within the

context of a public service ethos.

Whilst debate can be temporarily stifled, people's shared passions and convictions

sooner or later declare themselves and do change the world and the way we live. Sometimes these changes come through political/legal reform, armed conflict or

revolution, but often the most enduring changes occur in small, personal but

nonetheless dramatic ways.

Source is developed on principles of inclusion, but the work of a small (4FTE’s) arts organisation. We seek to ignite lots of small fires in the arts organisations around us,

rather than building one huge bonfire. We believe in doing so we will be building

bridges for inclusion rather than yet another bureaucratic hierarchy.


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Source Source is an holistic arts programme offering development, training, support and

employment opportunities for disabled young people and artists.

This includes

Mentoring

A development of our Mentoring Scheme which had been running for 8 years

Source Artists

Including a Professional Development Planning service

Source Young Artists

An intensive development programme for disabled young people

Source:it

Source:it is the information and support hub providing personal contact for artists and

arts companies

Never Dive Alone

A conference and Open Space event for building collaborative partnerships and

exploring issues of inclusion.

Young peoples participatory projects

Feeding into this we concurrently ran a number of participatory arts projects for young

disabled people and workshops within schools, youth clubs and young disabled people’s groups.


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Mentoring

A Mentor is someone, who by using their skills, experience & knowledge

will encourage someone to develop their full potential.

Extract from “Here and Now” a report, which reviews the recent professional development experience of

disabled and d/Deaf artists in the south west commissioned by Arts Council England, South West in June

2009. Written by Moya Harris and Annie Warburton. Available from www.artscouncil.org.uk


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The value and importance of mentoring came up time and again throughout the interviews and survey. Artists looking back on important turning points often

mentioned a mentor or significant individual. Looking forward towards a ‘professional

development wish list’, in the open responses as well as the survey questions,

mentoring (along with ‘networks’ and ‘local’) was most often identified as the single

intervention that would make the most difference. Emphatically, mentoring was mentioned by almost every artist as an important source of support. In the words

of just one, there is a call for

“A seriously funded and in‐depth mentoring system organised by people who

understand disability.”

http://www.artscouncil.org.uk


Source Mentoring is a unique service for Disabled People who have a keen interest in the Arts and who wish to pursue their interest further through education, training and

employment. The service is also available to young disabled people, emerging or

established artists, graduates or those mid career.

Mentors are purely people who have a lot of experience in the arts and would like to pass that experience on to someone else. Having a Mentor is a bit like having a human

sounding board for a mentee – someone to chat with about their plans, ideas and their

future. Mentors are not there to judge or tell a mentee what to do, but to support an

individual in the direction they want to go.

A brief history

During some work with Gerry Morriaty then at Manchester City College over 10 years

ago, and working with some young disabled people we had discovered some

depressing statistics. We looked at how many young Disabled People were on FE or HE Arts Courses and the drop out rates for students during the first year of their courses.

Non Disabled Students Disabled Students

2%

98%

80%

20%

Drop Out rates during first year of course


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No. Of students on arts courses

The origins behind our Mentoring scheme had been to simply try and redress the

balance at least in the number of disabled students dropping out of their courses

during their first year.

Our mentoring scheme began in a small way 10 years ago with a few mentees and a

few disabled professional artists who underwent just half a days training. We worked

with a small pilot group of people from Manchester City College, North West Arts

Board (now Arts Council England North West) and 2 disabled artists.

After 2 years piloting the scheme, we knew that there was a clear demand for this

service, but we had many lessons to learn and adjustments to make.

1) It was clear that working with just one FE college was restricting for development of

the service and potential mentees were just ‘given’ to us on the college’s terms rather than coming from their own [mentees] needs.

2) We felt we were addressing gaps in services provided by the college rather than

meeting the real needs or aspirations of disabled young people.

3) Our training for Mentors was not fit for purpose and the role of mentor needed a

more robust and comprehensive training package4) Our decision to only offer disabled mentors for disabled mentees whilst having the

best of intentions in terms of providing role models and people with an

understanding of disability issues was challenged by findings from the mentees

themselves. For some a disabled mentor was important, however for others they felt

that just having an excellent mentor, with an understanding of the arts discipline they were working towards was more important.

5) We began to see the ‘matching’ process as crucial in successful outcomes for the

mentor/mentee relationship

6) The human resource time taken to manage the scheme was much, much greater

than we anticipated


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Moving to Source Mentoring

Evaluation from our first 2 years brought some major changes to our mentoring

scheme

1) We began a series of large scale annual participatory arts projects with young

disabled people. These would act as a gateway to our mentoring scheme for those

young people showing enthusiasm or skills and wishing to take their interest further.2) We transformed the training process for our mentors, all new mentors would

receive 30 hours training to OCN level 2 accreditation. All mentors would also

receive 2 days Disability Equality Training

3) We recruited non-disabled as well as disabled volunteer mentors

4) We sought funding to cover the human resource costs of a Mentoring Coordinator for the scheme

5) We improved our matching service with more in depth pre mentoring meetings

with potential mentees.

During this stage of our mentoring programme, we saw a shift in the ethos of our programme, we were beginning to design a programme around the needs of our

disabled young people, and as word of mouth started to attract interest from our

disabled artists we also opened up mentoring to some older and mid-career artists.

Our programme was becoming more inclusive and much more informed by its users.

Mentor training

Our first tranche of training had 14 trainee mentors from around the North West 5 of

whom where disabled or Deaf people 3 of these were self employed artists. Of the 9

non-disabled mentors 7 were employed by arts organisations in the region (such as the

Education and Outreach worker at the Royal Exchange, a dance worker from Dance Initiative Greater Manchester, the Artistic Director of Contact theatre) 2 were self

employed.

The training was designed and delivered in-house and although this was highly

successful and tailored to our own needs, it soon became apparent that it was hugely expensive in terms of human resources. All 14 mentors achieved their OCN


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accreditation and feedback on course content and delivery was excellent. During part of this process all mentees are offered free enhance CRB checks, a valuable asset to

our mentors, especially freelance artists who are now equipped to work with young

people and vulnerable people on a freelance basis at no cost to themselves.

Engaging non-disabled mentors was a huge step for Full Circle Arts as a user led organisation, and something we knew would come under criticism from some disabled

practioners and some other disabled led organisations. However the step was not

taken lightly and was in direct response to feedback from our mentees and prospective

mentees.

How important are the following qualities in a mentor for you? (tick all that apply)

It was critically important that our mentors were not just trained in mentoring, but that they also received Disability Equality training. This was just as true for disabled as well

as non-disabled mentors. Out of 5 disabled mentors only 1 had received Disability

Equality Training and only 2 understood the Social Model of Disability.

Realising the training was far too exhaustive on our own internal resources we looked for other training providers who could deliver an accredited course with us. The

following year we delivered a course to 9 mentors in collaboration with Mancat. The

course was successful, but was still costly for Full Circle Arts. During our funding

applications for Source 2 Mancat gave £18,000 worth of training in-kind over 2 years

which secured the mentoring training for us.

they should be a disabled personthey should be successful in the art form I am working/studying in

they should have good listening skillsthey should be non-judgemental

they should support me by understanding the barriers I facethey should know people and organisations that may be useful to me

0 3 6 9 12


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The training was successful in terms of equipping mentors with skills and attracting new mentors - since arts organisations could see the benefits of releasing their employees

to be trained as mentors and receive Disability Equality Training. (there were huge

relationship building and collaborative relationships that could be formed from offering

training to employees in terms of partnership working, and capacity building for the

organisations skills base) and however we choose to develop the training, the value of these relationship will still need to be retained. Under our past systems of training we

were still getting periods of imbalance on the number of mentors in our pool and the

appropriate mentees to match them with. Apart from the obvious need for matching

happening at the right time for the best outcome for all, frustration can happen on

both sides of the relationship if this if not present.

Mentee Pre mentoring and matching meetings

From the early days of a college sending us requests for mentors for students they

judged as needing a mentor, to Full Circle Arts recruiting mentees through our young

people’s participatory projects and work within schools and colleges, our mentee meetings became increasingly important in ensuring an appropriate match and ensuring

a clear understanding of the mentees own needs and indeed whether mentoring was

an appropraite support route at that time in their own development. We had

concentrated on ensuring a high quality of mentor without doing sufficient work with

prospective mentees. Some young mentees were not sure of what a mentor was for, or their own responsibilities as a mentee within the mentoring relationship. Our mentoring

scheme has been running for years and and not all of our previously trained mentors

are available to mentor with us any longer. We have now developed a service which is

much more inclusive service, working with rather than for our mentees. We were able

to do this partly by measuring intrinsic rather than purely instrumental values of the

service.

Ongoing evaluation of the mentoring scheme through Source 2 encouraged the design

of our Professional Development Planning service. The introduction of Professional

Development services has benefited the Mentoring scheme is a variety of ways.


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Everyone who applies for an arts mentor receives 3 Professional Development Planning Sessions or for younger people we often call this a Pre-Mentoring service.

This helps FCA identify with the young person, practitioner or artist….

If a mentor is needed?

If so, when is the right time?

A clear understanding of what mentoring is and what it isn’t is developed with the mentee, which in terms informs their choices and options.

Self-determination valuing the concerns or issues that disabled people identify as their own starting points

Raising people’s awareness of the range of choices open to them, providing opportunities for discussion of implications of options

Contracting between Mentee and Mentor is more focused as goals, options and possible routes have been explored previously through the PDP.

The mentor, no longer spends months trying to encourage an individual to highlight a goal.

Mentors are there to support the journey that has already been identified.

Mentee’s have taken responsibility for their learning from the beginning.

Mentee’s have identified their own goals, areas of work, action plans.

Mentees are central and leading the process.

There is a clear start and end point.

PDP has provided more focus and commitment to the overall mentoring process.

Some highlights of our mentoring service

Mentoring at FCA has grown from strength to strength over the last ten years and is

now a nationally recognised quality service. It leads the way for mentoring and inclusive

practice in the arts, still today because of its on going development in reaction to the

real needs of our users. The continuity and one-to-one contact and support that


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mentoring provides remains one the strengths of this service in positive outcomes

for mentees, whether young people or established artists.

The service has twice be awarded Approved Provider Status by the Mentoring and

Befriending foundation and our mentoring scheme and case studies have been used in

MBF’s publicity and during their national conferences. Approved Provider Status is a

quality benchmarking scheme, which gives an organisation a set process to take their scheme through to ensure they meet a number of criteria mainly around support for

both Mentees and Mentors. This quality assurance works perfectly well within the arts

sector and is one we would encourage any scheme to look to, since a bit like Investors

in People it takes you through the process of examining different areas of your scheme

to ensure quality can be delivered for everyone involved.

Our mentee’s are matched with a trained or experienced Mentor, an arts professional

usually working in the field the mentee would like to progress in.

Mentor’s meet with a mentee on average once a month to discuss professional development, encourage focus, provide information and the opportunity to meet with

individuals and organisations who may be able to provide additional information and

support.

Some Outcomes to date

Ongoing research and consultation, with all current mentors and mentees, which

informs the development of our service.

20 new mentors trained and accredited via Mancat joint accredited course with FCA

Renewal of our accreditation of Approved Provider Service from the National

Mentoring network (the only nationally recognised quality mark and FCA still the only arts organisation nationally to provide a mentoring service with this quality assurance).

36 artists/young people mentored during Source

25 of these young people

11 artists mid-career/career change to arts

28 new to the arts/disability and Full Circle Arts


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18 young people moved into post 16 full time arts education 2 artists doing MA’s

1 undertaking her Phd

A full progress/outcomes diary kept for every mentee

8 peer mentoring (4 pairs) - Source young Artists

All mentees receive either a full PDP or ‘mini PDP’ before being matched (age and experience dependant)

2 older or more experienced arts consultant mentees now progressed on to

leadership development courses

Cross referrals from MYAN and CPAL members (mentees onto arts projects/training,

working as artists/workshop leaders and young disabled people being signposted to our service.

Mentoring/PDP coordinators salary now fully met from revenue funding (although this

has meant cutting some project work, we felt the shift was necessary to match

commitment to both mentoring and PDP to be a continuing core part of our work).

Some Figures for this year

Since the introduction of PDP service we have seen figures/numbers slowly decrease in

mentoring but contact hours increase. The outcomes for mentees have increased, their

confidence, focus, action planning has increased (dramatically) This indicates our move

to intrinsic rather than simple instrumental measurements of success informing our future decisions.

People accessing this service in this year

Short term – one off support – less than 6 months

Long Term – 6 months onwards

Contact hours – average. Time spent on pre – mentoring service, agreement, mentor

meetings, email, phone call etc..


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08

Short termMatches

Contact Hours Long Term Matches

Contact Hours

2 48 8 192

09

Short termMatches

Contact Hours Long Term Matches

Contact Hours

1 9 9 216

Recently applied, awaiting match or going through Pre-service

Recently applied Pre-service or PDP Awaiting Match

4 2 2

8 of these people applied for mentoring after taking part in one of our Young peoples

project.

Having studied our own capacity to continue mentoring in -house covered by

employee time (but excluding training, meeting and access costs our maximum

Capacity for mentoring in one year is:-

PDP or Pre-Mentoring Service – 15

Mentoring Matches – 15

Findings –

100% of those who have experienced PDP/Pre-mentoring service, short term and long

term mentor matches have reached or moved significantly forwards towards their

goals.

100% have valued the opportunity


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100% said it has encouraged focus

100% said it had helped with motivation

100% have moved on to education, training or further arts employment opportunities

Other findings

Increase confidence

Increased networks

Accessing main stream arts provisionsAccessed training

Accessed further art Projects

Accessed employment opportunities

Become Self employed

Built Artist ProfileIn a measured way this translates to

Mentoring Service contributed to an increase/improvement in the following

Before Service After service

Confidence

Focus

Motivation

Orginisation

Self Awareness

Self management

Action Planning

Self Evaluation

0 20 40 60 80 100

82

92

84

75

79

87

83

80

17

10

18

26

19

37

30

20


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Mentors have feedback that the process has been made earlier and more focused through the introduction of the Professional development Planning sessions.

From the beginning the mentor is aware of the young person skills, strength, learning

preference, goal and possible routes.

Lessons we have learned and how we plan to develop

We find it more inclusive and a way of developing sustainability to teach mentees in how to choose and use a mentor – this provides a better return on investment than just concentrating on training people in how to be good mentors

We offer a mentor matching service – but we now encourage and support people to look for their own mentors first – this helps to ensure relevance

Mentoring relationship are usually driven by the learner, who takes responsibility for scheduling meetings and developing the agenda. Learning to chose and use mentors effectively is a relatively advanced skill and is one that should be explicitly taught. We try to encourage people to check out a few potential mentors rather than just allocating them one

In future we plan to train people who have already been approached to become mentors to avoid training a whole bunch of people who want to mentor, but for whom there is presently no demand. We shall plan for this by identifying around 4 suitable accredited mentoring courses within the region and securing funding for mentors to gain accreditation through these courses.

To offer Disability Equality Training to all mentees as well as to all mentors, this helps disabled people to externalise the disabling barriers they face. It also gives confidence by knowing and understanding their rights to full participation.

Whilst some discussion between the benefits of pre-mentoring PDP’s are seen below in the section on PDP, it helps to highlight those here


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Mentoring is intrinsic part of professional development follow up, and ongoing support.

Our future plans for our mentoring scheme development are as follows

Identify accredited courses throughout the region to sign post new mentors to

Hold follow up mentor briefs for those who have an interest after participating in our projects

Provide a platform for ongoing peer mentoring

Build a strong network for all mentors and mentees

Provide social and networking opportunities

Development learning logs, and development toolkits that can be accessed on our website.

The development of this service will rely on additional funding, and we are currently researching possible funds with LSC, the Adult Learning Fund and Aiming Higher.

Case studies from our young disabled mentees

(Names have been changed)

1.Sarah first came to the attention of Full Circle Arts through a social group run by

Salford Youth Service. The group was for disabled people and appeared to have a large

age range attending, from 11 years to over 30. Sarah and some friends were interested

in developing a small drama presentation for a forthcoming conference. This was

organised and delivered to a high degree of success and encouraged the young people to develop a further project. Sarah then attended the FCA annual arts project and was

matched with a mentor immediately afterwards. It was only through this process that

the obstacles facing Sarah’s development and interest in the arts became apparent and

her Mentor was able to work with her to overcome some of these. Within three

years, Sarah is running a youth arts organisation for young disabled people (which grew from the Salford initiative) and this summer was successful in gaining an acting contract


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that toured to the Edinburgh Festival and later around Cheshire. Sarah continues to be mentored and develop her arts interest and career.

2.

Katherine was isolated for many years, ‘requiring’ constant 24 hr supervision from a

Personal Assistant. An intelligent young woman, who appeared to have few outlets for

her creativity. Katherine applied to become involved in one of our arts projects and took part in every element of the project. On being matched with a Mentor,

Katherine’s confidence grew. She applied for a job as a part-time Front of House

attendant at one of Manchester’s Museums and secured the position and now works

independently of her Personal Assistant.


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Source- Artists


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Extract from “Here and Now” a report, which reviews the recent professional development experience of

disabled and d/Deaf artists in the south west commissioned by Arts Council England, South West in June

2009. Written by Moya Harris and Annie Warburton. Available from www.artscouncil.org.uk

That positive experiences are so ad hoc

indicates a continued lack of understanding of disability at an

organisational level among non disability‐focused arts

organisations and support organisations and this is an issue that

must be urgently addressed to achieve, in the words of one of

our interviewees:

“Real listening, heart to heart, human being to human

being.”

The survey asked respondents to select the areas of professional

support most important to them

One to one guidance or mentoring was the

1st choice of most artists



Source Artists - Professional Development Planning Service

Description

In December 2006, Full Circle Arts implemented a Professional Development service.

The service would act as an umbrella term to all arts projects/activity/services that focused on progression in the arts, ie - the mentoring scheme, Artist Development and

Networking events, signposting to FCA Information and advocacy services and external

arts development, training, employment opportunities. It would pick up and support

new talent coming through our young peoples projects and would of course offer a

core service which would be the Professional Development Planning service for disabled artists, emerging practitioners, and young people who have a keen interest in

pursuing arts education, training and a career in the arts.

PDP sessions are in-depth, supportive and one to one, dedicated and focused to

Professional Development Planning it can operate as a sounding board, allowing disabled people to direct their own thoughts and needs giving them the opportunity to

focus on their existing experiences, knowledge, and networks. After receipt of

application, individuals are offered 3 sessions of an hour an a half each. Once an

individual is part of the PDP service they may also access follow up sessions/drop ins

and benefit from Information sessions with our Information and advocacy worker.

Core PDP sessions draw heavily on the principles and models of coaching practice, we

explore where someone is at, where they would like to get to and how they might get

there. We do not tell or steer the direction. Through in-depth discussion we encourage

an individual to explore


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Goal

Reality

Options

Will or Way Forward.

The service aims to provide a platform that supports artist professional development. Encourages individuals to set goals, assess reality, explore options and design a way

forward and take action. Success of the service is not about an individual reaching their

GOAL, but, action, moving towards ones goal, the steps that are taken towards reaching

that goal and individual learning throughout the process.

Facts/finding/feedback

Development of the service and staff development.

A formal service has been in operation since Jan 07. We have continued to develop toolkits and approaches to sessions.

FCA – have received training to help develop this service. PDP Coordinator, Vicki

McCorkell has studied and achieved 20pts towards a post graduate certificate in

Coaching and three members at FCA have received Guidance training from University of London.

PDP – Coordinator received information from qualified coaches, The Careers Guidance

service, Lancaster University, London University and was matched with her own

mentor for 12 months through Business in the Arts mentoring scheme. Stephanie Sturges a executive coach mentored Vicki McCorkell, Vicki benefited greatly from her

experience, Stephanie shared advice and guidance about the PDP package we were

designing and signposted Vicki to training in a coaching certificate which would help

develop an understanding of coaching principles, models and communication used

during coaching as well as offer a platform for coaching practice. Stephanie remains in


25

contact with Vicki, sharing information about literature and independent learning exercises.

Vicki completed her training through PINNA, the certificate was accredited by

Lancaster University. PINNA offer ongoing training and peer support for coaches or

those working closely with Coaching techniques. Through independent study, mentoring and training we have been able to create A PDP package and a variety of tools kits that

can be used during PDP.

Figures

We aimed for 7 individuals to access 3 full sessions of PDP service in year one, 7 new plus the possibility of the existing 7 who might access follow up and drop in support in

year two and so one.

This of course might mean at some point we would hit a waiting list or full capacity.

Figures as follows

Ending April 08

10 Accessed PDP session 1,2 + 3

1 Accessed PDP session 1 + 2 only

1 Accessed PDP session 1 only

3 Service not offered

8 Waiting list/awaiting application


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Ending April 09





0 Waiting list

April 09 to date





2 Waiting list

April 09 - People accessing follow up sessions 3

April 08-09 People accessing follow up sessions 5

Total of service users to date- Full PDP or Pre/mentoring- 28


27

PDP

Service contributed to an increase/improvement in the following

before PDP after PDP

Confidence

Focus

Motivation

Organisation

Self Awareness

Networks

Employment

Training

Opportunity

Knowledge

Skill

Funding opportunities

Access to external agencies/organisationsMove towards Goal

0 22.5 45.0 67.5 90.0


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PDP Case Study

Lisa Simpson applied for the Professional Development Planning service in 2009.

She was signposted to our service by an Employment Project Officer working with

disabled people at Knowsley Health and Wellbeing.

Lisa’s application indicted she identified herself as a new emerging practitioner who had

formal arts training in

Surface Pattern Design BA hons

Foundation Art and Design

Btec National Diploma Peforming Arts

She highlighted on her application that she was returning to an arts career after an

absence.

Lisa’s personal statement highlighted she would like to pursue a career as a disabled

choreographer, assisting/teaching other disabled and non disabled people how to choreograph using a device called the Simpson Board ( a device that was designed

around Lisa ) An inexpensive tool that enabled disabled people with non verbal or

limited communication to choreograph. She strongly believed there could be potential

in other disabled people becoming choreographers who have not had the opportunity

or tools to realise it.

Lisa wanted to access the professional development service to explore her goal further

and move towards achieving her goal by exploring, opportunities, networks, options and create a structured plan to move forward.

Lisa indicated she had not participated in the arts for some time and felt she needed a

plan to return to the industry.


29

Pre- service sessionLisa met with PDP coordinator to discuss what she would like to get from the service

and gain an insight into how PDP operates.

Lisa then made application

Session 1.

In session one Lisa was encouraged to build a map of where she was right now, we

explored

CVTraining

Current Networks

Past Networks

Current Opportunities

Past OpportunitiesExperiences

Barriers

Values

Influences

Skill

We had a discussion about these areas as we built a self assessment map.

I asked Lisa to Focus on the 4 headings that particularly resonated for her. And we

explored those headings in Further detail.

Skill

Past Opportunities and current opportunities

Networks

Experience


30

Lisa sat at table at the Never Dive Alone Event

taking part in a Solution Circle

We had a further in-depth conversation around these 4 headings, building a clearer picture of the resources Lisa had and identifying gaps.

Lisa, rated each of these headings out of 10. 1 being very Low and 10 being very high.

Again, further exploration around the figure Lisa had placed herself under each heading. These areas would be key priority areas when goal setting and moving forward.

At the end of session one – Lisa had built a clear picture of where she was right now,

exploring all her resources and identified 4 areas she would like to explore further

during PDP.

Session two

Lisa returned to session two, we began by reflecting on any activity that had occurred

since last time. Lisa said she had made contact with several people. New and old networks who she had not tapped into for a while.

She said she had been considering her goals and returned to session with notes and

ideas for session 2.

She had also spent a great deal of time researching.

We recapped on session one, we would always reflect back to where we began

throughout sessions.

In session two we began discussing Lisa’s goal, the reality

( session one supports this exploration of the reality) Options and begin to design a

way forward.

Lisa highlighted her Goal, through discussion her goal became more specific


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Twelve months – To have facilitated two workshops in choreography for disabled and non disabled people with an interest in dance and choreography using the simpson

board-

We placed the goal at number ten and asked Lisa to consider where she was in

relation to that Goal. Lisa placed herself at a 2. Conversation reflected back on existing skills, networks, experience, contact etc.. that made Lisa a 2.

I asked Lisa to consider the gap in between the 2 and 10 and this encouraged a

conversation about the reality, all the areas of work, activity etc.. that could fill the gap.

Several areas of work were highlighted and recorded.

In-depth discussion around these areas of work took place, here Options, possibilities

began to surface and would design a way forward in session 3.

Lisa was asked to pick a few areas that she felt she could begin working on

immediately, she chose – future research of local schools, attending a training day for

disabled dancers to build networks, research in particular performance and dance

organisations, and follow up on those suggested to her during PDP.

Session 3

A way forward –Lisa began reflecting on action since last time, she had made several

contacts with dance artists, researched and made contact with two schools who she

felt might be interested in dance workshops for disabled and non verbal young people.

She had attended an event for dance practitioners and made new contacts, contacted NWDAF, PANDA, DIGM.

Lisa felt already she had moved towards her goal, and now placed herself at a number

4.

She felt her confidence had increased, along with her networks, Opportunities and was

beginning to gain experience by working closely with a dance facilitator. She also said


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she wanted to bring her goal forward and try and achieve it by Feb 2010. This informed the action plan we created during session 3.

We returned to all the areas of work and took a step by step approach to move up

the scale towards Lisa’s Goal, if she was a number 4 what would make her a number 5?

This outlined priorities and resulted in the creation of a six month action plan which

Lisa took away with her.

Lisa felt confident to work through this action plan and did not feel a mentor was

needed at this time, but expressed an interest in mentoring at some point in the future.

Lisa commented the service had improved her focus, she felt almost overnight she was

back in the industry she wanted to be in, she had felt supported listened to and valued

the experience.

Lisa was offered follow up sessions at her request and returned in September to

feedback on where she was now. She had made a variety of contacts, was speaking to a

potential co-facilitator and a teacher who could support her to plan workshops, she

had identified a possible mentor for the future, had downloaded funding applications,

was creating an artists profile for FCA website, and had become a member of PANDA. She felt she was a 6 on the scale of 1 to 10 and believes her goal will be

achieved by Late February.

Summary

We have 100% positive feedback from those who have committed to 3 sessions of

Professional development Planning Service.

Those who have not accessed all three session’s have provided positive feedback form the sessions they experienced and have either moved on or expected Information and


33

advice from this service. Therefore we have do our best to be clear about what the service is and is not and have sign-posted people to information and advice, and

external services.

Service has always had a constant demand and in our third year of running the PDP we

are aware of our capacity. Maximum number of people accessing PDP’s in one year is 15. Young People accessing Pre-mentoring services fall under our PDP heading. They

have all gone on to future opportunities, activities, projects, education or training in the

arts.

Statistic tell us, many disabled artists are still out of work, we ensure people who access PDP received our newsletter and are signposted to any opportunities that may be of

interest to them. We encourage artists to profile themselves on our website and

explore other arts organisations. We have employed artists who have undergone PDP

to work on our arts projects.

Artists are still finding it difficult to access training and other professional development

opportunities, although there are cases where people have gone on to further training,

PDP and employment. These figures remain lower than we would like.

Artists are experiencing difficulty securing funding for their professional development and to fund projects.

Again we try to signpost and provide toolkits that can support funding bids.

The overall cost of PDP is one of time, an average of 12 hours is spent on one individual during the entire process, the core funding for this service is for the PDP and

mentoring coordinator.

To develop this service further and in a way that is responding to the requests and

needs of the artist we would be looking to raise funding for the additional cost of


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Development of PDP toolkits that can be used during one to one meetings and accessed on our website.

Meeting cost

Access requirements

Development events and surgeries

Staff training and development

We are keen to develop this hugely successful service especially in the current

economic situation.

We are currently working on yet more strong partnerships with mainstream arts

organisations and professional development organisations that could lead to disabled artist accessing further opportunities and gaining employment.


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Robot model made during our young disabled people’s animation workshop

Source Artists

Artist Development & Networking day 2

Fayre Exchange

Fayre Exchange took place on April 01/08 at

the Bridgewater Hall Manchester. It was the

second Artist Development and Networking

hosted by FCA. Responding to requests from artists that highlighted the need and desire for

networking and discussion around professional

practice

The event allowed FCA the opportunity to have a two way dialogue with artists about

their challenges, their needs and ways in which

me might develop our services to support

their requirements.

Fayre Exchange was committed to individual professional development of disabled

artists at any stage of their career. Providing a platform for individuals to share

information around their experiences, training, funding and professional development

needs.

Solution focused and action orientated, we aimed for fayre exchange to encourage

effective networking, a sharing of ideas and information, focus on individual professional

development and for everyone to go away with something that would contribute to

their own professional development.

‘ a new contact, a training provider, information from the market place etc…’


36

Findings/facts/feedback

Bookings - 72

Attended by 59.

Attendees -

Disabled artist at various stages of their career

Young emerging practitioners on PDP schemeArts Professionals with an interest in inclusion

FCA staff

Arts Organisations and support organisations for the professional development of

artists

Organisations included

PANDA

BBC

Access to Work/Job Centre Plus

North West Playwrights

Arts Council EnglandCIDS

CAN

Activity and Speakers –

Vicki McCorkell on Full Circle Arts and PDP service

Philip Patston - Diversity Works Trust - New ZealandOn The Sofa with – Vivienne Stone/Michelle Oakes/Abu Jafar

Exchange time – 2 allocated time slots for exchange of information, ideas, concerns,

networks.

Q+A

Round table discussions – a chance for reflective discussion around individuals Professional Development, challenges faced, ideas, options, a way forward.

Networking and Min Market – An allocated time for networking and the chance to visit

organisations stalls.


37

Throughout the day we encouraged attendees to write on the exchange boards their comments, ideas, suggestions, PDP needs.

During exchange time we encouraged people to look at the board and answer peoples

questions, queries and share info etc…

Posts were made on the following areas.

Questions and Information on Funding Sources

Questions and Information about arts organisations

Questions and information about Arts mentoring schemes or mentors in other parts of the country

We ended the day by asking everyone in the room to share one thing the day had

highlighted and one action they would leave with that could contribute to their

professional development.

Feedback ranged from

Clearing ones desk, Making contact with a particular organisation to set up a meeting

to going home and creating an action plan for the next twelve months.

Everybody contributed to this feedback.

The day highlighted a need for networking days that have an emphasis on professional

development, and smaller more focused group sessions that are art specific.

Further feedback“Thank you for inviting me to the Full Circle Arts event on 1st April a brilliant day”.

I was able to meet with a number of people who attended the event. Many of the

people I spoke to I referred to the Disability Employment Adviser (DEA) at their local

Jobcentre Office and that perhaps it would be helpful for a Disability Employment Adviser to attend future events. With this in mind I have spoken to a DEA based in

Manchester her name is Verena O'Connor and passed on your contact details to her.


38

I am, of course, happy to be involved with Full Circle Arts in the future. Edie Mansfield

Access to Work Adviser’

‘thank you for all your hard work and inviting us to this wonderful event. As a deafblind person I was inspired by the artists In a different way, their faces, emotions, movement,

even the sound of their voices, the high and lows. Its just fascinating for my work. I

really liked the large written words of the speaker on the screen, It was amazing and a

fantastic idea. I f I look at a BSL too long then the creative mode start setting in and

then I start drawing. But It was so wonderful. I met a Spanish artist who showed me the art of clapping In flamenco, In that short time I learned so much.

I gathered a wealth of Information on your website including access to work. A few

lines of the speaker prompted me to get in touch with a few proffessional people so I

am really on my way. I am joining a dance company too.

So you lovely people thank you again and long may you reign!‘ - Adios Lorraine’

‘I didn't really get a chance to say thanks to you for the day. I really enjoyed the

experience and found the whole thing especially Philip Patston particularly inspiring.

And boy do I need inspiring at the moment. The only down side was the BBC thing. It was a good chat with Gary I think he was called but he had to admit he had nothing to

offer and not all that much to suggest. Apart from wait around till the end of 2010!

Congratulations on all your hard work I feel it paid off in droves. Oh and the food was

good too! And I heard so well because of the loop so that was good too.It just gave me

some extra oomph. I went for a practical for a job interview today. I am not terribly hopeful but it was good to have gone anyway. Andrew

It was a real pleasure for all three of us to work for FCA again, you're one of the very

very few organisations who seem to know exactly how to support BSL interpreters

(and therefore Deaf clients). Thanks very much indeed. And next time we have and emergency, we'll be calling you, Vicky. Thanks very much to Ray too for the Lorraine

Priestner DVD.


39

had a great day and made a few contacts to boot. cheers ed

‘Overall I thought the day went really well, the content was very interesting.

I think it’s wonderful for artists to get together and share/support and consider their

own Professional Development. The stalls worked very well and I will be following up

contact with a few of them. And it was free!’ Many many thanks Sue

Outcome

Full Circle Arts understand the need for events that focus on individual professional

development and the opportunity for artists to network, share and learn form one

another.

All feedback we have received and the ongoing communication with the artists we

work with support this.

After hosting two days of this kind, we would like to look at organising another in the next two years, however we have received enough feedback that indicates smaller

more focused groups would be greatly appreciated.

We would like to develop our PDP events by organising or supporting artists to

organise smaller groups in - critiquing sessions, skill sharing, action learning sets, development workshops that are art form specific. This is dependant on securing

funding.

We would look again to run a large scale event after one year of more focused activity.

Again this is dependant on funding.


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HUB4 ‘Mentoring in the Arts’

( pilot Source Young Artist)

Description

At the time FCA were designing a more intensive development project for young peo-

ple ( SYA ) we were approached by HUB4, a 2007/08 national training initiative for

young people interested in the arts. Hub4 introduced us to a national program they

were delivering and asked Full Circle Arts if we would be interested in being one of their partner organisations in Manchester to design and deliver a project for young

people that had a focus on progression in the arts.


41

Hub4 was a partnership project between three agencies that work with young people.

Artswork

BBC Blast

The Prices Trust

Their national art program was directly supported by Arts Council England,

Connexions and several arts organisations up and down the country.

Hub4 aimed to work with young people between the ages of 16 and 25 who were not

in education, employment or training to develop their knowledge in the arts.

The project operated in Norwich, Southampton, Newcastle and Manchester. Full Circle

Arts designed and delivered ‘Mentoring in the Arts’ Project for the Manchester Hub4.

Hub4 contributed to the overall cost of this project and FCA contributed money that was in place for SYA. Hub4 ‘Mentoring in the arts’ became a pilot for the now

structured development project of Source Young Artists that Full Circle Arts offer.

Mentoring in the arts would be a 12 week project, we aimed to

Introduce the Bronze arts award to young people

Support Young People through the process of Bronze Art Award

Support those who wanted to complete and submit the award to achieve it.

Focus on young peoples arts interest.

Introduce Mentoring to young peopleEncourage an understanding of Mentoring

Encourage peer mentoring throughout the project

Encourage young people to discuss the arts and research art opportunities available in

Manchester.

Increase young peoples knowledge of art opportunities available in ManchesterVisit an arts venue they had not been to before


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Work on the creation of a piece of informative art about Manchester’s arts sceneFacts/findings/feedback

Project designed in December 2007

Project delivered between February 2008 and completed in June 2008

Consisted of 12 creative learning workshops + 2 arts event visits + one to one arts advice/support for arts award.

Participants – 6 young disabled people not in education, employment or training

Full Circle Arts became a register centre to deliver Bronze and Silver Arts Awards

through project work.

2 members of staff at Full Circle Arts received Arts Advisor trainer1 disabled artist received Arts Advisor training

Participants completed program – 5

Participants offered Bronze Art Award - 6

Participants who undertook Bronze Art Award 3

Participants who submitted Bronze Art Award 2Participants achieving Bronze Art Award 2

Project Coordinator – Vicki McCorkell FCA

Managed by – HUB4

Arts award/mentoring and project facilitator – Vicki McCorkellArts Facilitator – Michelle Oakes – Visual Artist and PHD student

Michelle Oakes was a disabled artist who was also accessing the PDP service

Hub4 Mentoring in the arts

Questions Yes No No

Were you offered the chance to achieve a Bronze Art Award

6 0 0

Did you received information, advice and guidance around the Bronze Art Award

6 00

Did you work towards achieving your Bronze Art Award

3 33


43

Did you submit your Bronze Art Award 2 11

Did you complete the 12 week project 5 11

Have you learnt about mentoring 6 00

Did you take part in peer mentoring throughout the project

6 00

Were you given the opportunity to reflect and dis-cuss your interests and skills in the arts

6 00

Did you research Arts opportunities in Manchester 5 11

Have you leant about other arts opportunities 5 11

Have you learnt new skills 5 11

Do you feel more confident 5 11

Has this project encouraged you to consider future arts related goals

5 11

Would you consider taking up arts training, educa-tion, or development programs

5 11

Did you complete an individual piece of art 6 00

Did you complete the final group piece of art 5 11

Did you enjoy this project 6 00

Would you be interested in achieving a silver arts award

3 1 2 Maybe

Quotes from Hub 4 – Mentoring in the arts’ participants


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“ Before this project, I had no idea about all the dance schools and organisations in Manchester”

“ I feel more confident”

“ I understand what mentoring is”

“ I am now looking to study dance, or dance therapy at college”

“ I don’t want it to end”

“ to get to where you want to get to in the arts, you’ve got to work your butt off and

take on every challenge as it comes”

“ Working together is easier to come up with solutions than working it out by yourself ”

“ Mentoring is about guiding someone to get to where they want to be”

“ I listen more to other people”


45

“ I’m not just a pretty face, I can help other people”

“ there is more art in Manchester than I thought, our canvas lets people know about all

the arts stuff ”

“ I’ve liked being very creative because I never had the chance to do it at home”

“ I started getting more confident’

“ how relaxing painting on canvas can be”

“ from looking back to the beginning of the project, I can’t believe where we’ve come

to”

“ I now know where the Cornerhouse is”

“ I didn’t know Central Library had a theatre before this project”

“ I walked past the Urbis for the first time”

“ I’ve learnt loads……..mentoring, art venues and companies in Manchester…..and how

to paint onto canvas!”

Outcomes

Working on the HUB4 project allowed us to pilot a development scheme for young

people. In June 08 we would be in a position to implement a 12 month intensive

development project for disabled people age 18 to 30. See Source Young Artists.


46

3 of the participants on HUB4 ( SYA PILOT 1) would later apply for SYA 2 and subsequently go on to receive a tailor made intensive development program and an

opportunity to gain silver arts award.

Hub4 managed and contributed financially to the scheme, giving FCA the flexibility to

design and deliver a project that would fit into their remit, overall aims and objectives as well as complying to work we had set out to deliver.

It gave us the opportunity to experience delivery and assessment of arts award, the

support involved and recognised how it may be attached to future projects. A positive

relationship was forged between Full Circle Arts and Artswork/Hub4, and we have contributed to their evaluation on the national training initiative.

A large piece of art was created, in the style of a graffiti map of Manchester that lists

the various art organisations the young people researched. It acts as an informative

piece of art aswell as reinforces the idea of mentoring and progression in the arts. This piece of work was exhibited at the Zion Arts Centre during a Presentation on arts

opportunities and approaches have been made to other arts organisation in the hope

they will exhibit the piece.

For further info please refer to the comic and dvd that were produced by the young people to reflect their journey during this project.

Film at www.full-circle-arts.co.uk/ourwork.asp?id=83

Comic at www.full-circle-arts.co.uk/ourwork.asp?id=80 or available on Issuu.com


47

http://www.full-circle-arts.co.uk/ourwork.asp?id=83




Source Young Artists

Description

SYA is an intensive development service for young disabled people age 18 to 30, who

have a keen interest and commitment in pursuing arts training, education and a career

in the arts. In June 08 FCA, offered up to six places on the scheme. This would be the

second year of a development service for 18 to 30 year olds and the first structured

Source Young Artist Scheme.

Over twelve months the service would offer…

PDP

Ongoing review and reflectionRegular group meetings

Accredited and non accredited Training

Development workshops

Silver Arts Award

Silver Arts Advisor and supportInformation about arts organisations/opportunities

A project opportunity, where the SYA’s would design, manage and deliver their own

arts project to other young people.

Mentoring

Signposting and support to gain work experience opportunities Signposting and support to gain new and develop existing networks

Exit reviews and ongoing PDP


48

Activity chart

Activity Young person offered

Young PersonAccessed

Intro session to the SYA 5 Yes 5 Yes

Pre service PDP 5 Yes 5 Yes

4-6 weekly Hub meetings 5 Yes 5 Yes

Accredited Training 5 Yes 5 Yes

Non accredited Training 5 Yes 5 Yes

Development Workshops 5 Yes 5 Yes

Intro to Silver Arts Award 5 Yes 5 Yes

Arts award advisor and support 5 Yes 5 Yes

Information 5 Yes 5 Yes

Opportunity to Design, manage and deliver an arts project

5 Yes 5 Yes


49


50

Activity Young person offered

Young PersonAccessed

Mentoring 4 Yes 3 Yes

Work experience internal 5 Yes 5 Yes

Work experience external 3 Yes 3 Yes

Signposting to networks 5 Yes 5 Yes

Ongoing review and support 5 Yes 5 Yes

6 month review 5 Yes 5 Yes

Critique of work 5 Yes 5 Yes

Feedback 5 Yes 5 Yes

Follow up support groups 5 Yes 5 Yes

Exit PDP interview 5 Yes expected Nov 2009

Activity continued

Intro to SYA – June 08

Before the year of development activity began, FCA offered an information session

inviting disabled 18 to 30 year olds together to provide information about what SYA would offer and what would be expected from applicants.

It was important for us to be clear about the level of work, training and commitment

that would be expected as this would be an intensive year and would best suit those

who had demonstrated commitment to past projects or mentoring and those who demonstrated self management around their own learning.

The information session provided us with the opportunity to speak with the group

before they decided to apply, and answer any questions they may have.

We then invited those interested to apply to the service.

Pre PDP Service July 08

Late June FCA received 5 applications to the service and offered each young person a place on the scheme.

One to one PDP sessions were offered to each of the participants to identify a clear

starting point. These sessions focused on the resources the young people already had,

what they wanted to gain themselves and what they wanted to gain form the service as a group member.

During Pre-service PDP session, skills, experiences, barriers to learning and Training

needs were identified along with networking and work experience preferences.


51

This information benefited us when planning the year of activity, training and we were in a position to begin developing activity immediately.

Overall Goal

To complete the 12 month development project and all activity offered.

Complete arts award and gain accreditation, after Project ends.

To develop my interest and skills in my own art form further.

We used scales from one to ten to determine how far away people were from reaching their goal

Goal – average figure 1

We explored ideas for Network development, training, skill development and work

experience that would encourage a progression towards reaching this goal.

People identified possible networks, training, work experience and skill development

goals they would like to explore.

Again we used a scale from one to ten

Networks – average figure 3

Training – average figure 2

Work experience – average figure 3

We listed current skills and discussed skills individual felt they would like to develop for

the overall project and their individual arts progression

Common skill development needs that were highlighted


52

Communication, organisations, confidence, report writing and record keeping, facilitator skills, time keeping, critique.

Through discussion of skill development and training needs we were able to identify

the training we would then provide during the year.

Common training needs

Creative facilitation, project management, risk assessment, working with challenging

behaviour, communication, critique, first aid, Marketing, promotion of self and work.

Skills, experience, networks, knowledge of each individual was shared in our first group meeting, and encouraged conversation around group members interests, it built

confidence around the resources they already had as a group, and encouraged a

forward thinking approach about who might be best to cover particular areas of work

if they came up and who could share their skills in particular areas.

4 to 6 weekly hub meetings and Support groups.

From August 08 – To October 09

13 meetings

8 meetings - 100% attendance 5 meetings – 5 out of 6 attended

Meetings covered

Ongoing review and discussionInformal development workshops

Arts award Support

Unaccredited training

Project discussion and Planning


53

After six months, Kathryn and Vicki – SYA coordinators did not attend meetings and it was the SYA’s responsibility to plan, set agendas, book venue, record minutes.

Accredited Training

January – Creative Facilitation

February – Introduction to Youth ArtsFebruary – Working with Children and Young People

March – Marketing

Silver Arts Award – ongoing

All training was offered to Full Circle Arts free of charge by Hub4/Artwork.

3 SYA’s achieved accreditation for all 4 courses

2 SYA’S received accreditation for 3 courses

And one SYA received accreditation for 2 course

All 5 SYA’s will be submitting their Silver Arts Award for accreditation in November 09

Non Accredited Training

Risk Assessment - In House

Communication - In HouseProject Management – In House

How to Critique your work and the work of others – Tanya Rabee

Afternoon discussion on Critique and promotion with a panel of 5 professional

disabled artists

100% attendance at all sessions

Development Workshops


54

Practice workshops were arranged for the group to plan and deliver an hour workshop to their peers. Feedback reports were written for each member on areas for

improvement and strengths.

A session on profiling yourself as an artists was delivered, each member then had to

create their own profile page for the SYA part of the website

Intro to Silver Arts Award

A session was held introducing the silver arts award.

Arts Award Advice and Support

This SYA saw everyone committing to the silver arts award, they all chose to take it the

award and have committed to one to one arts advice meetings between Feb 09 and

October 09.

All SYA’s are on track with their portfolios and we have set a deadline for November

1st to receive portfolios back, assess and arrange moderation.

We predict moderation will take place before December 2009.

Information

Throughout the twelve months SYA’S received FCA newsletter, information about

projects and arts activities in Manchester.

Opportunity to design, manage and deliver an arts project for other young people.

6 months into SYA and the project planning began.


55

All SYA – played a role in the project management All SYA – Designed an 1 to 2 hour workshop that they would facilitate.

All SYA worked together as a team to come up with a group idea that would tie all

their arts interests and experience together.

SYA – would share responsibility for Marketing, venue hire, budget, shopping for

equipment, sign off sheets, publicity, project info file, risk assessment, evaluation, communication.

On August 12th and 14th, the SYA,s completed their task, put all their training and

development into practice and achieved their goal by managing and taking a lead role in

facilitating, AIM – Arts In Motion

A project for young people in years 8 and 9 to come together and explore

Photography – Facilitated by Damien

Creative Writing – Facilitated by Paul

Drama – Facilitated by Janet and PeterDance – Facilitated by Helen

The SYA’s described their arts project as an arts relay, the images that were captured

during Photography would be handed over and inform the creative writing workshop

where characters would begin to form, the writing that came out of Paul’s session would influence Character development in Peter and Janet session and the characters

and stories that came form the previous three would inform Helen’s dance and a final

performance that included all elements would complete the day.

All SYA’s committed to the delivery of this project, unfortunately on the second day, one of the SYA’s became unwell and the others had to cover her absence. They dealt

with this challenge extremely well.

See further feedback on the project from the SYA’s themselves later in this document.


56

Mentoring

We said SYA’s would be matched during the year or after the year came to an end to

secure follow up ongoing development and support.

As we matched 3 people during the year we saw it important for mentoring to support their individual development, Mentees found they had a great deal of

meetings, one to one arts advice ongoing review and PDP, whilst they valued the

mentoring process and did feel it was needed, they provided feedback that it would be

more helpful after the process had come to an end. The other indication for this was

that individuals were more focused on the development of the group project than their own individual arts related goals.

One more SYA was matched but unfortunately his Mentor could not commit.

One SYA was not provided with a mentor but received ongoing support from PDP and mentoring coordinator.

Our aim is for all 5 SYA’s to receive mentoring as a follow up service after the arts

award comes to an end.

Work experience internal

Internal work experience opportunities were created within Full Circle Arts.

These included

5 SYA’s running one hour workshops

2 SYA’s co facilitating on taster workshops for Remix

1 SYA taking part in a presentation in a school about FCA, project work and

mentoring.


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Work Experience External.

3 people have gained work external work experience.

2 places have been offer through PANDA’s creative break scheme

1 SYA’s co facilitated with So Many Words theatre company on our Remix Summer project.

Again, we may have been ambitious to expect the SYA to gain work experience

placement during the year and we hope to follow this up as an action point when we

come to final PDP sessions in November

Signposting to Networks and external organisations

We continue to believe in people accessing mainstream arts opportunities, throughout

the year we signposted and recommended SYA’s researched and explored external networks and opportunities.

We saw an increase in this in the last month as the project had come to an end and

SYA’s had the time to follow up contact with schools, arts organisations etc…

Networks that have already been established

PANDA

DIY theatre company

Individual Artists

Zion Arts Centre

Ongoing review and support

Communication did not always seems a two way process throughout the year, SYA’s

sometime did not respond to ongoing correspondence but always communicated

when they needed something or wanted advice or support.


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Emails were sent every week to SYA’s. Telephone contact on average once a week

Meetings one to one – average every 6 weeks

Group meeting – average once a month

6 month review

After six months all SYA were invited to a mid PDP session, where we returned to

where they had started from, reflected on the journey, achievements, thing’s learnt and

forward planning.

6 months reviews have been recorded for all SYA participants

Example of a 6 month review

Full Circle Arts SYA – 6 month review December 2008

Name: Damien HaywardArt interest: Photography

July 08 – When we began

1

2 3 4 5 6 7 8 9 Goal 10

December 08 – 6 months on

1

2 3 4 5 6 7 8 9 Goal 10


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Full Circle Arts Agreed the following

areas would be offered or supported during SYA

July 08 to August 09

December 08 - After 6 months

‘I have accessed’

Initial service briefing meeting

Pre service session (PDP)

Ongoing support/review

Mentoring

SYA MeetingsTraining opportunities

Networking Opportunities

Work Experience opportunities

Silver Arts Award

Final Project opportunityEvaluation

Initial service briefing meeting

Pre service session ( PDP)

Ongoing support/review

5 SYA Meetings – Skill/network/experience/

ideas share

Training during SYA meetings.

Workshop on ‘ an artists profile’

‘How to Critique your work and the work

of others’‘Project Management’

Networking opportunities

During SYA meetings (peers and individual

artists)Opportunities signposted via email/

newsletter


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Ways Forward for FCA – Profile to be posted on FCA Website and newsletter

requesting a mentor, look for match in Feb 09. Plan for next 6 months of SYA meetings, Accredited training to be offered in January 09 to March 09. Further training

dates to be arranged, Meet with Arts advisor to begin work on Silver Arts Award Jan/

Feb and onwards. Workshop delivery experience during SYA hub session January 09,

Continue to signpost Networking opps, ongoing support and review to continue over

the next 6 months, Project to be delivered June/July 09, Ongoing evaluation + plan for end of project report

Work Experience – SYA AND Individual PDP PLAN: Goal Specific: To research and

gain at least 2 work experience opportunities outside FCA.


1

2 3 4 5 6 7 8 9 Goal 10


1

2 3 4.5 5 6 7 8 9 Goal 10

July 08: Work experience preferences – What I

wanted

December 08: Actions December 08: Way forward


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PhotographyExperience in facilitating

arts/photography

workshops

Shadowing photography

workshops, photographers, digital media.

Continued work experience with Spearfish (admin role)

good opportunity for

networking and links to

further opportunities.

Created Artist Profile and sent out to various

photography studios

requesting work

experience/shadowing

opportunities.

- Will design and deliver a one hour workshop within

the SYA scheme January 09.

- Will continue dedicating

time to research and

networking to encourage work experience

opportunities.

- Contact organisation with

updated Artist Profile and

CV

Networks – SYA AND Individual PDP PLAN: Goal Specific: Increase Arts Networks


1

2 3 4 5 6 7 8 9 Goal 10


1

2 3 4 5 6 7 8 9 Goal 10

July 08: Networks I’d like to explore – What I wanted



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Artists Online photography Net-

works

Research Arts and Photog-

raphy organisations

Have researched a variety of arts organisations and

opportunities at…

Contact Theatre (signed up

for newsletter)Red Eye (further research

on internet)

Warehouse Project

SMG, (sent letter and artist

Profile) HiveIndividual Artists (email

contact)

Further research and contact

BBC

Digital Media

UniversitiesMedia Trust

Photography studios

Training – SYA AND Individual PDP PLAN: Goal Specific: Access training appropriate to

SYA project and individual SYA PDP Plan


1

2 3 4 5 6 7 8 9 Goal 10

December 2008 – Six months on

1

2 3 4 5 6 7 8 9 Goal 10


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July 08: Training require-ments

What I wanted


Mentor Training Workshop Management/

design

Workshop facilitation

Promotion/Marketing

English ( written skills/recording information)

Communication

Presentation

Photoshop

Accessed training in…..

“How to Critique your work

and the work of others” non

accredited

“Building an Artist Profile”

non accredited workshop

session

‘Project Management’ non accredited

Research independent train-ing opportunities that could

encourage development in

Photography/media

Access all training provided by FCA and HUB4 artswork

in the next 6 months

Quick Questions

Have you enjoyed the SYA experience so far? Yes

What have you enjoyed the most? SYA meetings, learning different things that will help

with the final project, It’s been friendly and supportive, The session on Critique.

What hasn’t been so good or what could be improved? Nothing really, I can’t think of

anything.

How relevant do you think the sessions have been to the overall project aims and ob-

jectives?(consider all areas of work: initial briefing, pre-service session (PDP) sharing of

experience/networks/skills etc../profiling, critique, project management, social) Always

Relevant


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If not always relevant, can you explain why a particular session was not a benefit to you or SYA scheme?

Has the SYA project inspired you so far? Yes

Do you feel this development opportunity has supported you to learn more? Yes, I’ve learnt a lot

Do you feel this development opportunity has suited your learning style and prefer-

ences? Yes

Do you feel more responsible for your own professional development? Yes

Can you provide any examples of this? I’m researching all the time, I feel more confi-

dent in talking to people about my goals and my work, I feel more organised and I keep

a diary and I’m slowly getting better at recording information.

Have you learnt new skills or developed existing ones? Yes

Please feel free to reflect on your skill development in the box provided

Skills

Organisation

Self Awareness

Planning and Preparation

My own photography skills have improved because I’ve learnt about critique, using the dark room and my camera more often.

Communication has improved, I feel more confident with contact organisations and

individuals on the telephone and via email.

I feel more confident when talking about my work

Recording informationTime management


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Has your knowledge of the arts increased since SYA ? Yes

Can you provide examples? I know more about photography equipment, arts organisa-

tions and artists.

During your pre-service session (PDP) You described barriers to your learning and

things that can sometimes hold you back, have barriers presented themselves during

SYA? Not really

Have you felt supported? Yes

Where are you now –On my way and confident about the next six months, my confidence has increased, I

feel more focused, more skilled, developing networks by constantly researching and

raising my awareness of new organisations. I have had training in Critique and Project

Management. I have built an artist profile and updated my CV. I have made contact

about work experience opportunities and hope to gain work experience in the next 6 months. I’ starting to see University as a reality and something I might consider in a few

years time.

What are you most looking forward to –At the moment I’m most looking forward to the next session where I can gain the ex-

perience of facilitating an hour workshop to the group. It will definitely be a good ex-

perience


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Next Steps:Plan for my one hour workshop.

Get Profile on the website and on FCA newsletter

Get matched with a Mentor

Research training opportunities that will support my own area of artist development

(possible photoshop/web design)Attend up and coming training sessions

Develop my skills further

Take down more notes during sessions and record more learning in my log book.

Begin to look at Silver arts award after SYA workshop.

Look at my action points under training/networking and work experience

Peer Critique and Feedback

As well as being offered a one day workshop on How to Critique your work and the

work of others, we encouraged ongoing critique throughout the process of SYA.

As the year progressed we saw an increase in confidence around peer critique and

constructive feedback of one another.

The group often contacted one another to ask for advice about the ways in which they were approaching work.

After the workshop practice sessions, we help a group critique and feedback session,

where participants commented on the delivery of the workshops, highlighting things

that worked well and possible areas for improvement.


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The PDP coordinator also offered a report on each members of the group practice

workshop.

Ongoing feedback was offered throughout the year, on all aspects of SYA work.

Follow up support groups

After the project came to an end, we were keen to offer ongoing support and the

opportunity for the group to meet to, reflect on the project their learning, begin the evaluation process and the continuation of the arts award.

Two meetings took place in September one for arts award and another for reflection

of the 2 day project they ran.

example of project questionnaire:-

Notes from workshop reflection meeting 22nd September.

Prior to the project how did you feel?

Stress, Anxiety, worry, felt prepared on the morning but felt as a group we could have organised our project planning better to have achieved certain goals on time.

Overall feelings about the project – Went well, received mainly positive feedback from participants (which we have put in our project evaluation) the 2 day project plans helped with unforeseen circumstances as we were aware what needed to be delivered, when and how, we could have all designed and shared an individual workshop plan that noted specific aims for each workshop, communication hadn’t been great through the months but we came together over the project days better than previously, it would have been useful to have planned for a time for group relaxation or energy and confidence building warm up before we went live so to speak. Could have managed stress better, a note about the entire process that would have helped organisation and planning is to better design agendas set specific goals throughout the months.


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strong sense of teamwork, trust, loyalty, friendship, achievement, we delivered what we set out to, punctual/commitment, good set up because of the plans that had been created we knew what, where and when….

Overall aims and objective of the project were achieved,

Challenges we faced as a group

Respect of participants to facilitators and others in the group

Dealing with negative behavior, and having the confidence and being assertive enough to deal with it.

Time management – pre project planning and communication

Breaking of rules that were set

Illness on the day

Communication with one another about what their workshop would involve and what role you expected others to play.

Group control of young people, especially throughout the building at break times.

Things that could have helped/Improvements. Or attempts made to overcome challenges.

Improved planning, and ongoing communication and constant checking.

Using the tool that were given to us throughout – ( action plans, time lines ) notes on training, and ongoing reflection of how I am using what I have learnt and how I am demonstrating that.

Being clear about roles and responsibilities and what support you wanted from others.

More mock workshops practices.

Less interruption.

Preparation for working with an inclusive group and the challenges that might present.

Assertiveness and confidence to control negative behavior.

Clear and solid boundaries (if it’s a rule and you believe in the rule, don’t even get into negotiation, when the rule has already been stated )

Create a code of conduct of policy of behavior, and action to take when rules have been broken.


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Providing one to one support where and when required

Time to state ground rules at the beginning

Time to talk as a team when challenges arouse to agree a solution

Appoint a lead in behavior control

Utilize training more, when situation arouse, make constant reflection on what we had learnt through training and demonstrate it through actions during workshops.

Main things learnt through the project

Self awareness, awareness of others and a better insight into the creative facilitation and project management.

The importance of Team work

Communication

Knowledge of other art forms and activities involved

Finding solutions

How to spot challenges before they escalate.

Planning workshops, setting aims and objectives

Engaging participant

An improved awareness of how far away we are from becoming an arts professional.

Evidence of training being put into practice by the group during the delivery and planning stages.

Child protection –

Information confidentiality, image consent forms, we had CRB checks, Parental Consent,

Project Management –

Brainstorming ( planning )

Setting agendas

Sign off sheets

Budgeting

CommunicationFull Circle Arts Source2 Evaluation

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Solution Circle

Solution focused communication

Questioning

Listening

Use of non verbal communication

Observation

Reflective communication

How to Critique you work and the work of others

Ongoing reflection of what we were doing and how it could be improved, stretched

Risk assessment- and implementation of health and safety

Completed a risk assessment

Used prevention of risk during set up

Signage

Awareness of space and others.

Equipment checks and safety instructions

Marketing –

Posters

Letters & Mail outs

Visiting venues

First Aid Creative Facilitation-

Engaging Participants

Learning styles

Planning activity

Timing


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Flip chart pages showing Solution Circle

Arts award meetings will continue to take place throughout October before the deadline for submission.

An arts event will be attended on October 27th as part of the Arts Award and to

celebrate the end of the SYA scheme.

Exit and Final PDP meeting

After Arts Awards are submitted, all SYA’s will be offered a one to one PDP session in

November/December 2009 this will mark the end of the SYA scheme.

These session will contribute to a final indepth evaluation of the entire process.

It will provide the opportunity for SYA’s to reflect on the entire process, looking at

where they began, areas they wanted to develop, achievements and consider a way

forward for their professional Development.

Total Time for SYA-

One month prep and Pre- service

12 months development activity + delivery of project

3-4 months continuation of arts award, final PDP and evaluation.


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The Source Young Artists in a meeting sat around table and looking at flip chart

The Source Young Artists Own Words

My name is Janet Charlesworth. My art form is drama. Before taking part in the

Source: Young Artists project, I had done some workshop facilitation, but not much. I

was studying performing arts at college and wanted to take part in the SYA project as I

saw it as a challenge and I wanted to gain more experience.

When I met with the other young people, we discussed ideas of what we wanted to

do as part of the project. It was eventually decided that the final product would consist

of 5 individual workshops of photography, creative writing, drama and dance. These

would be run over 2 days, and would be run for up to 30 young people between the

ages of 11 and 14 years.

In order to run the project, we had to have project management training for the

project to be successful. We also had training courses in child protection, risk

assessment and creative facilitation along with other courses, which gave us the ability

to effectively run workshops.


73

I am Paul Robert McDowell and before doing the SYA project I was mainly writing

poetry and other writings (such as a script and a fantasy story).

My interests before (and after) the SYA project are reading, writing, (console) gaming,

performing live poetry, wanting to run a workshop and to publish a book of poetry, one of my scripts or the fantasy story.

To facilitate my own workshop I needed training and the training I needed was part of

the SYA project and I had no prior knowledge of how to plan a project/workshop

either. So doing the SYA project enabled me to learn the skills I didn’t have and increase my knowledge of how to plan a project/workshop.

I attended meetings (Hubs) where we learned the basics and did exercises to prepare

ourselves for the training and later meetings where we would plan the project.

Over the course of the training sessions I received training in working with youths in

the arts, project planning & management, budget management and child (and data)

protection.

I learned key information in each session such as:

How to control young people in an awkward situation (e.g. inappropriate attitudes and

advances)

The parts that make up a project

Mistakes (or problems) that could happen when planning a project (e.g. a divide of

ideas which causes conflict and therefore teamwork skills) We did a problem solving

circle (Solution Circle) to look at our group communication.

How a budget should be managed (and how an invoice should be done)


74

Risks of not having consent forms and what not to do when working with minors (e.g. giving out personal contact details they could contact you on outside of a project)

The training was necessary and I know it will help me plan and develop other projects/

workshops if I chose to do so.

During the training sessions we were set tasks and I learned some good ways of

improving rapport with a group and although I could not think of how to include them

into my workshop for this project in the future their skills could be useful.

As well as training and project planning meetings we also did practice workshops so we could try out our individual workshop plans and improve any parts that needed

improving or altering.

I think the practice workshops helped to fine tune the plans, help people spot flaws in

their ideas or tasks and also helped increase confidence, presentation and facilitation.

During my practice workshop it became apparent that at times I was unclear giving

instructions and had a tendency to turn my back to the group to write down an

instruction or idea I had mentioned to them and I didn‘t give much support during

tasks.

Those were things I focused on improving and I practiced during project planning

meetings by scribing notes, by time we delivered the workshops (end project) I did not

have any of those problems.

I learned that I can let nerves and stress get the better of me, I could work best by

including some physical tasks when doing a workshop and that I am capable of

planning, promoting and delivering a project.

I am Helen Bridge before the SYA project my main interests were dancing, helping others, art and crafts going to dance events theatre productions and I wanted to

improve my confidence and communication skills. I also wanted to know about working


75

with children and vulnerable adults. I felt that the SYA project would help me explore all possibilities open to me.

I knew the project was going to involve an intense training scheme and I would not

have much time when I wasn’t thinking about the training and what training would be

next. The first training session was Basic project management facilitated by Kathryn Braithwaite this is where I got my first taste for the six thinking hats method and

brainstorming and project mapping. This was going to be an extremely important

workshop as we learned about sign-off sheets, aims, objectives etc there were some

fantastic words given to us that would help during the entire workshop process:

We then did some training that introduced us to youth work and went into child safety

I did some first aid, we did some communication training which we need to improve on

still. But the Solution Circle really helped us. One of the most important training

sessions we did was risk assessment/management.


76

All of the training was useful there were some that I felt were more useful than others

but the first aid risk assessment and child safety and of course project management

were the most important in my opinion and were used a lot during all our workshop

process. I would tried to show how I was enjoying everything and how passionate I was

about taking part in such a fantastic project. We didn’t really do a lot of practice workshops but the one we did helped me greatly. I

thought that I would be better at project delivery than I was and was absolutely

devastated at the time, but the feedback I received from my peers was very

constructive. It was here where I realised that we had done some training on how to

critique your own work and how to critique others work as well. I realised that I was very harsh when critiquing my own work, but was extremely constructive when

critiquing others work. I had to learn how to be more constructive with myself. Using

the feedback I got from my peers and project facilitators I knew where I needed to

improve and I needed to work on these areas to deliver my part of the main project.

I learned a lot about myself during the entire project I learned that I was quite a selfish

person and I kept thinking that my ideas would make the workshop days a success I

was willing to listen to others ideas, but when it came to utilising others ideas I didn’t

see how we could use them and really didn’t want to try. However as time went on

I realised this was going to have to be a group effort to make the whole thing a success.,

At the beginning working with others was a problem I just wanted to have debates

about the whole process finding problems where there weren’t any. Communication

between us was a huge problem. We didn’t keep each other updated as regularly as we should and in the end everything became a panic and stressful. Challenges were faced

at many stages but the main challenge was communication or lack of it between us. This

in turn caused stress anxiety and argument. We should have been more organised and

all these challenges would have been much easier to cope with.

I valued the whole opportunity greatly it was a fantastic experience and I would like to

do something like this again in the future as part of my personal and professional


77

development. Doing this project has made me realise that there are many more opportunities available to me in the path I would like to follow. The next stage in my

plan is to look into Jabadao and see if I can get some work experience on one of their

schemes. This in turn would help me feel more confident in pursuing my main goal of

being a dance movement therapist.

My name is Peter Pamphlet I joined the Source Young Artists because I want to lead my

own drama and become a drama workshop leader and I had the chance to do just that

on the 12th and 14th of August 2009. Because I made a 2 day project with the other

SYA’s We called the project AIM which stands for arts in motion Manchester and in the

future I would like to do more drama in workshops and projects, which I have started with So Many Word Theatre Company. I am writing the notes and ideas for Jamie

Patterson because I need to write every thing down to do with drama and to be more

assertive with myself while it is fresh in my head.

My name is Damien Hayward I feel proud to be part of the SYA project for the last 18 months. It has been a test of my mental, physical and emotional limits. There have been

times of anger, frustration and tears. However, I have come out at the end feeling more

confident in myself and my own artwork. I am trying new things, my passion for my

own artwork has rocketed and I am more willing to meet new people.

The training and the whole experience of being on this project has given me such a

boost, and I am now looking to do another type of project again.

I would like to add the fact that yes, there were some communication and workload

problems with some members of the group from time to time. It doesn’t hinder me from working with any aspect of working with any of the people again. I now know

what to look for and stop any problems dead, so that I don’t allow them to roll on

again.


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Source:it spreading to where our users are


79

Source:it

Source:it is the information and support hub providing personal contact for artists and

arts companies. Source:it also incorporates our web site which was completely redesigned and is now updated daily with an extensive employment and training

opportunities section, a ‘what’s on’ guide, a database of accessible venues, news and

information, funding opportunities, and a variety of other relevant information for

disabled artists and arts companies interested in inclusion, access or working with

disabled artists.

Through this funding we have provided 3 completely new sections to the website:

development toolkits for artists (toolkits)

a guide to local arts groups and participatory arts in the North West (workshops)

new artists portfolio and database section (artists)And a new newsletter - Source:it

Background

A consultant was employed to interview artists on what they would find useful content

on the web site, and how we should position the web-site and how they positioned

themselves and their work.

Disabled artists and emerging practitioners were asked how they would like to see our

website positioned.


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Would you like to see a website which was Disability Arts branded

Yes 5% No 89% Not sure 6%

Would you like to see a website which positioned itself as an arts development and

information site.

Yes 89% No 5% Not Sure 6%

We asked artists where they positioned themselves or their work

Do you regard your artistic practice to be informed by your impairment or experience

of disability

Yes 12% Not sure 6% Sometimes 5% No 77%

Do you choose to identify yourself or your work with the Disability Arts Movement

Yes 9% No 82% No answer given 9%

A range of opinions were given in seeking comments on why or why not people would

choose to identify with disability arts

“Disability isn’t my focus, being an artist is my focus. Unfortunately ‘disability’ seems

to be the place I seem stuck as far as the arts world is concerned”.

“Yes, its part of who I am, I’m proud of who I am and the disability arts movement

celebrates this”


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“I’ve been to a few disability arts events, but it seems to a bit of a clique circuit with the same old faces both on stage and in the audience”.

“Compared with other arts events I have performed at the audiences are always

small and usually other disabled people, I want my work to be seen and critiqued

alongside my non disabled contemporaries, I’m interested in developing my art-form not disability thinking so I don’t really like to associate with the disability arts scene

now, its too easy to be pigeon holed”.

“No, I may be disabled but I’m lots of other things too, I choose to be me an artist

with a wide range of influences, wherever that takes me”

When we asked what sort of information or sections artists would be interested in, these were the results. (35 respondents)

Would you like to see a section on YES

A jobs section 34

Training opportunities section 28

Accessible Venues guide 18

What’s on 26

Career advice/toolkits 32

Artists database/showcase 29

Arts Workshops guide 16

Information on FCA’s work 27

News or a newsletter 32


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In the focus group we asked how likely artists would be to showcase their work via a

Full Circle Arts website

The overwhelming opinion was that they would be very interested providing there was

some sort of quality assurance and there would be a clear distinction between professional artists and emerging artists. Artists would be eager to showcase their work

or advertise their services if the site wasn’t seen as just a disability arts site and

potential employers would see them in the context of other professional artists.

Artists section

The artists section of our website and Source:it our newsletter have been crucial to the

success of Source artists

To establish the new artists database and portfolio / showcase section we employed a

freelance worker who:Mapped professional disabled artists currently practising

Marketed the opportunity to disabled artists

Co-ordinated and serviced a selection panel, including equal opportunities policy and

practice for entry on the web site

We now have 37artists on the web site within a searchable database each artist has their own page outlining their experience, a CV and additional web pages to promote

and showcase their work.They also have a link to their own web site. Promoting a dif-

ferent artist each month on the website homepage as well as in the newsletter has

proved to be very beneficial for the artists, giving them the opportunity to showcase

their work to a wider audience. The website now has over 6,100 unique visitors each month and Source:it our fortnightly newsletter, has a circulation of over 620.

In addition we have provided one to one advice and development signposting to artists

who were/are not yet ready for the professional database / portfolio / showcase.

All regional training opportunities are now emailed directly to artists on the site as well as receiving our newsletter. They have the opportunity to identify their own training


83

needs with tools developed by FCA. This is then supplemented with one to one Pro-fessional Development Planning.

Source:artists provides a high quality resource for the professional development, em-

ployment and marketing of professional disabled artists and their work.

Artist’s featured on the site have been contacted to produce commissions, lead work-

shops and to take part in projects all over the UK. Signposting artists to training or

relevant opportunities and keeping them up to date with what’s available for them to

utilise is invaluable for the artists. (see outcomes below)

Toolkits

A consultant was employed to research and write downloadable artist development

toolkits

The following toolkits can now be downloaded directly from the website

Benefits and barriers

Writing your CVDeveloping your presentation Skills

Presentation Techniques

Why should I have a contract

What should be in my contract

Funding do’s and don’tsDesigning a fundable project

Funding bid structure

Personal selling points

Funding source list

These are placed alongside a page of useful contacts, a page outlining our Professional Development Planning services and the strangely very popular creative procrastination

page.


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Workshops

We employed a freelance worker to research, map and collate a comprehensive list of

all accessible local arts groups and participatory arts in the North West. These have

been added to our new database, which is has been active on-line since January 2007.

Currently we have 40 accessible arts workshops in the North West available on-line

from local dance or music groups to photography or new media workshops and hack days.

Our Newsletter

During this programme our newsletter has gone from a circulation of around 180 to

now over 600 individuals and organisations.“Oh I always look out for your newsletter, its so easy to read and very useful, I can just

cut and paste all the relevant stuff to my colleagues and other organisations in the bor-

ough” Debbie Cowley - Arts & Cultural Manager Trafford MBC.

Outcomes to date

we have developed and maintained a dynamic online resource of profes-sional artists and practitioners

we have designed and put on-line a new web site which is accessible and user friendly to both arts employers and artists wishing to join

we have a facility for each artist to have their own web page within the site to showcase their work

we have developed partnerships with external agencies to gain accurate professional advice for artists (see below)

we have developed a library of resources and information that is available (with quiet study and work space for any visiting artist or young person who wishes to use it).

had 2 large scale and 3 small scale training opportunities for artists

11 artists have/or have had mentors

79 external arts work opportunities (minimum 6 days work) gained for our artists directly from our services.

3 artists have had solo exhibitions in Manchester and LondonFull Circle Arts Source2 Evaluation

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we have held 2 artists days (Manchester Museum and Bridgewater Hall) with guest speakers including international representation.

23 artists have attended [mainstream] professional development courses as a direct link of partnerships formed between FCA and external organisa-tions

The new sections to our website saw an initial jump of 50% in unique visi-tors to the website, with an annual growth rate now of 20%

In addition to the services above in the last 12 months we have increased our web presence, we now have our work on a host of social media sites and channels to open up a conversation with our users and audiences.

We have a blog on Wordpress which allowed young artists to post up their work, comments and reflections live as it was done during Remix our disabled young people’s summer pro-ject. As well as a live audience to their showcase, over 500 people a day visited the site to watch their animations, look at their photographs or listen to their feedback.

http://fullcircleartsblog.wordpress.com

We have been on Twitter since late March 09 with now over 600 followers. We also use twitter for feedback by setting up hashtags for feedback at our events.

We connect with our users through Facebook (1,361 friends)

Our films can be seen on our You Tube channel

Photographs on our Flickr pages

Our reports and published material is available on our Issuu on-line ‘bookshelf ’

We share our interesting sites and information with our users via delicous

We have Ning and a Crowdvine group networking sites set up for groups and confer-ences (see Never Dive Alone).


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Our conference, dissemination, collaboration &

partnership day

Never Dive AloneFull Circle Arts Source2 Evaluation

87

Background

All the work, described in this evaluation is built on inclusion which is dependent on

collaboration. Never Dive Alone was about inclusion and collaboration

All our work is guided by the following principles:

Inclusion is non-negotiable and “ALL MEANS ALL” – we don’t do “Tips for Inclusion” events. We are not interested in passing on techniques without also making explicit the values that need to underpin them. Anything else is just unsafe and risks becoming another thing we ‘do to’ young and disabled people

Building Relationships lies at the heart of developing inclusive practice, all of our events, training, conferences or programmes are about encouraging connection especially in difficult situations – those where imaginative responses are needed

Inclusion is more than one person’s work – strong and effective teams, or colaborations with a shared vision are key to delivering new ways of working and they know that “Together We’re Better”

We want people who attend our events to leave with some immediate changes to their practice in mind. Not just ‘good intentions’. It’s the little things (and enough of them) we do differently tomorrow that will make a difference.

We want people to leave with their eye on the ‘Long View’ – with a stronger sense of what they would love to see happening in their work in 10 or 20 years time


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Pictures of presenters, palantypists, BSL intrepreters and the presentations at Never Dive Alone

Never Dive Alone Aims & Objectives

Aims

To move the arts agenda from access to inclusionTo profile FCA’s work in Mentoring, PDP and Source Young Artists

To form new partnerships for collaborative working

To open debate around new thinking on collaboration, openness, personalisation

and participation in relation to inclusion

ObjectivesTo move the arts agenda from access to inclusion

Participants have a concept of what inclusion means

Participants have explored methods to achieve inclusive practice

Participants understand the limitations of ‘access’ for extending their organisations

reach and engagement

Participants leave the day with some immediate changes to their practice in mind (however small)

To profile FCA’s work in Mentoring, PDP and Source Young Artists

Participants have a clear understanding of FCA’s work in mentoring, PDP and Source Young Artists

Participants have used some of the tools/methodologies FCA uses for inclusive

work with young people, Mentoring, and PDP

Participants have seen examples of FCA’s work

To Form new partnerships for collaborative working

A minimum of two ‘Mainstream’ organisations will have begun to work in

partnership and be discussing /planning collaborative projects/work by August

2009Participants will have an understanding of how FCA can work with them to help

achieve their goals for inclusive practice

Participants will have an understanding of how FCA can work with them to help

extend their reach and engagement with disabled people


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To open debate around new thinking on collaboration, openness, personalisation and participation in relation to inclusion

Participants understand that inclusive practice has collaboration at its heartParticipants are aware of the opportunities and benefits of using inclusive practice

in participative work

Participants will have explored how the guiding principles of inclusion can become

synonymous with personalisation

Participants have discussed what collaborative practice and open source ways of working mean for the arts and art organisations

Participants are using our CrowdVine site, e-mail, or our social media pages to

contribute to, and continue, the debate


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Our Goblin Market - a stall exchanging sweets for feedback

Never Dive alone was the title of our event, which took place

on 11 June 2009 at Bridgewater

Hall.

The event was designed intentionally as a coming

together of present and future

working partners, artists and

disabled people, interested in a

dialogue or conversations around inclusion in the arts.

There were opportunities for

delegates to reflect on their

learning, and space for them to

consider the implications of four short presentations.

Delegates experienced first-

hand some of the tools and

approaches coming to the fore as mechanisms for

transformative conversations. We drew on different techniques used and tested with

inclusive education, such as all participants taking part in Solution Circles. Drawing,

making notes and sharing ideas on the table cloths. Because the issues were

paradoxically complex yet simple, the afternoon was in the shape of an Open Space event where participants set the agenda and actively decided where they could be

most useful and most nourished.

For too long inclusion, diversity, reach and engagement have been seen as a ‘bolt on‘ to

artistic practice and the main work of arts organisations. Perhaps the new landscape could help us appreciate them as core values, without which we cannot deliver quality

or equality.


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We looked at the value of collaboration, openness, participation and personalisation

for inclusion.

The event gave us the opportunity to roll

our sleeves up and actively engage with these issues. Working with tried and tested

structures, we explored with others how

we all might move forward.

The morning looked at; experience of inclusion from an organisational and an

individual perspective, Full Circle Arts’

perpetual beta model of striving for

inclusive participation, some of our

successes and failures and some of our fears and dreams. As well as examining inclusion

and ways in which we need to collaborate

to be effective, our Mentoring and PDP

coordinator gave a presentation in the form of a PDP of Full Circle Arts, which allowed

delegates to see our dreams, aspirations and work towards inclusion where they could connect and collaborate with us.

Before the event Full Circle Arts set up a Crowdvine site so that participants and those

who were unable to come on the day could network with each other learn more

about inclusion and Open Space events and post up comments, questions or start disscussions. There were 23 members of the network and 56 participants on the day.

A full transcript of the presentations is available to read from

http://www.full-circle-arts.co.uk/ourworkBelow is a small section from Michele Taylors speech around inclusion as it gives a

good sense of what we are trying to achieve in looking at organisational shift for inclu-sion.


92

Vicki McCorkell presenting Full Circle Arts Dream,

done via an organisational PDP

http://www.full-circle-arts.co.uk/ourwork


“One of my perspectives is that you can take a

functional approach to

inclusion. That it can be a

state, something that you

kind of aim to do. I think that can go on a kind of

spectrum. At one level

you can simply remove

the guard dog and the

keep out sign to allow people in. It's not

proactive but it's perhaps

a first step on the journey. You could go a bit further and you can put up a welcome

sign. You can a go a bit further still and you could actually invite me. You can consult me

about what it is I might want to come to at all. You might employ me. That would be nice. And then you might show my work. Yes, all of those things are ingredients to

inclusion I think. From my perspective all of those things will contribute to my feeling

included. However, there is a problem. Because generally if you take that kind of

functional approach, what you require is to know what labels I am wearing. Are you

inviting me today as a disabled person? Are you inviting me as a woman? Are you inviting me today as a mother? Are you inviting me today as a gay woman? What label is

it that you require me to wear today so that you can know you are including me? Do

you see what I mean? It’s like the emphasis on still on how I'm different from everybody

else you want in there.

Where am I? You see I think there was time when I was on the outside looking in with my nose pressed against the glass. It would be really nice to be in there. I would really

like to know what goes on. Most of the time to be fair I do not think I am on the

outside looking in any more. I think I'm on the inside looking on. This comes back to

something that Chris was talking about. But I do not think I'm on the outside looking in

most of the time, I think I'm on the inside looking on. I'm still not really included. Because I want to be in the very thick of it. I do not think I can be in the very thick of it

if you do not shift your perspective, and I mean you globally because I'm ambitious. I'm


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Michele Taylor with microphone starting the Open Space event

not targeting any particular organisation. If you do not shift your perspective from looking at my labels to looking at your organisations. I was thinking about the inclusive

organisation. I came up with words - it seems to be a bit of a theme that we're thinking

about, odds words. Assumptions. Expectations. Parameters. Boxes. Protection.

Flourishing. Reflection. Connection. Personalisation. Stares. Choice. Expression. Just some

of the words that came into my mind when I think about an inclusive organisation because obviously when I think about an inclusive organisation I'm contrasting it with an

organisation I do not experience as inclusive. But for me inclusion is not a state. It is not

a goal. It is not a target. It may not even be something that can easily be evidenced. It is

a process. I think that an organisation, a team, a department, a project, an event that is

seeking to be inclusive needs to recognise where it is on that journey and engage with the journey. I think it needs passion. I think that the most fundamental ingredient is

passion and commitment. If you have got passion and you have got commitment and

some sense of where you might be on that journey then, yes, maybe some of those

steps I talked about before, inviting me, consulting me, employing me, showing my work

those are important. As long as they are in the context of passion and recognising that inclusion is a journey.”


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Some of the participants at the opening circle of the Open Space event in the Afternoon


95

Drawing on the tablecloths, we have 10 huge paper tablecloths full

of ideas, thoughts and doodles that people shared on the day

Participants sharing a joke during the opening circle of the Open Space session

2 of the e-mails we received the following day

“I just wanted to get in touch to say how impressed I was with the event yesterday. It's

not often that such a wonderful opportunity comes along and I think you really pulled

off something special. It was partly to do with the glorious Bridgewater venue, gorgeous

food and professional air of the day. And also your style of presentation, use of technology and choice of group exercises were really interesting, new to me and very

refreshing.

But more so it was because you are a group of people who obviously believe in the

power of your practice. I mentioned at the end that the opportunity to share is a wonderful stimulus for me. While the day brought up lots of unanswered questions, I

left the building with a strange sense of clarity, ambition and inspiration. So I just

wanted to thank you all for giving a platform to some really important themes,

facilitating a space where I could network and learn from others, and for raising the bar

for inclusion and disability arts.

I and the members of So Many Words are very grateful for the valid work your

company continues to produce”.

Jamie Patterson - Artistic Director, So Many Words Theatre Company

“I wanted to say that, all in all, I found the morning inspirational! (And this from

someone who’s been to far too many conferences and therefore is often too cynical

for his own good).

It was fantastic to hear you spell out how important the web is (and will be) in terms

of access to an organisation – totally in tune with the direction I’m keen we take, but

provided plenty of food for thought. Watch this space!”

Jonathan Harper - Marketing Director The Lowry


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Feedback from the Goblin Market

1, write down three words that describe the day

generated interest curiosity inquisitiveness • encouraging interesting thought-provoking • together we do better • idea development consultation space/reflection • shared

experience inspirational informative • stimulating warm inspiring • informative learning

new • sharing new professional • interesting thought-provoking challenging • involving

engaging fun interesting • excellent nice/lunch • There are no hard to reach audiences,

just hard to reach arts organisations • Interaction ideas informal • Inspiring interesting enlightening fun 8 open creative free • networking thought provoking knowledge • In-

spirational spiritual great • inclusive supportive friendly • inspirational interactive infor-

mative •informative challenging provocative • genius networky cool • inspiring invigo-

rating interesting • inspiring creative friendly • milk seabass moe • people fun sweets •

friendly • interesting informative FUN! • Its all great • The sweeties were good • some exciting sessions • a great chance to network • lovely people lovely day and lovely food


97

2, have you met any useful people that you will keep in contact with

Yes new friends with same goals

Yes

Yes with artists and organizations working in the sectorYes clarity of ideas to new connections

e-mail addresses, food for thought, met old friends again

new connections, artists possible work together on future projects, organizations possi-

ble collaborations

Yes I have met new people from different regions and got some great ideasYes, new contacts

Yes thanks and new info

Start of a collaboration already, yeah

Definitely, interesting people excited about inclusion

3, is there anything we could have done better

Bridgewater Hall disabled parking is crap

Warmer please

More coffee Coffee on tapA delegate list

A tech session

4, is there anything from the day you will take away and use

Use solution circle X 3

Try an adaptation of solution circle exercise

Twitter and think about collaborative approach

Feedback to colleagues and discuss our accessibility further

Visit the Never Dive Alone Website and learn more about PDPGrab Chris and get her to help with my career development and have a chin wag

about what FCA do since I really care about what they do

There are no hard to reach audiences, just hard to reach arts organisations

Follow up contacts

Write my own action planApply for ACE fundingFull Circle Arts Source2 Evaluation

98

Learnt about the massive benefits and some limitations of new mediaHopefully will now get an exhibition in Oldham

Going to do a PDP X4

Follow up some ideas for collaboration X 3

Follow up work around inclusion X 2

Some feedback from Twitter

ContactMcr Had a great time at Never Dive Alone #neverda yesterday. Thank you! @chrissyhammond @full_circle_art

iamhelenharrop really inspiring and fun day in MCR at #neverda .. looking forward to catching up with folks again @shifthappens

sc_r #neverda - wrapping up a great day here at the conference - really enjoyed the open space event, thanks to @full_circle_art people!

kate_butler had an extremely inspiring, informative and entertaining day at 'never dive alone'. http://bit.ly/Li2p7 #neverda

MarisaDraper Great day at #neverda event. Great presentations, discussions and old school sweets. You can't beat space dust. :)

You can read our full Twitter stream on the event at http://www.full-circle-arts.co.uk/ourwork


99

http://twitter.com/ContactMcr

http://twitter.com/ContactMcr

http://twitter.com/search?q=%23neverda


http://twitter.com/chrissyhammond

http://twitter.com/chrissyhammond

http://twitter.com/full_circle_art


http://twitter.com/iamhelenharrop

http://twitter.com/iamhelenharrop



http://twitter.com/shifthappens

http://twitter.com/shifthappens

http://twitter.com/sc_r

http://twitter.com/sc_r





http://twitter.com/kate_butler

http://twitter.com/kate_butler

http://bit.ly/Li2p7

http://bit.ly/Li2p7



http://twitter.com/MarisaDraper

http://twitter.com/MarisaDraper





Full Circle Art’s ran the following participatory arts projects

during Source 2 - which act as gateways to Source 2 provision

Full Cirque - Circus Skills

13 young Deaf and disabled participants

12 sessions

3 disabled artists

2 non-disabled artists1 young disabled person work shadowing

1 young disabled person taken on as volunteer at skylight Circus

Look 07 - photography

10 young disabled participants

2 disabled artists2 non disabled artists

26 sessions

I exhibition (Manchester City Art Gallery)

Est - audience 600


100

Model of a rabbit made for animation workshops

Quip (part 1 and 2) project working with disabled Gay, Lesbian, Bi and Transgender

people in Manchester’s Gay Village.

23 disabled LGBT participants

4 disabled artists

2 non-disabled LGBT artists

1 disabled apprentice22 sessions

Passing Down - Creative writing

11 disabled participants

2 disabled artists

12 sessions1 event (MOSI)

24 audience

Oakwood High School - Dance, visual arts and drama


3 disabled artists3 young disabled people work shadowing

18 sessions

Round The Piano


1 artist12 sessions

1 performance

Audience 52

Remix Outreach - various artforms venues around Greater Manchester Skylight, Jig-

saw, Oldham Link, Newbridge learning Centre, Earz 4 Kidz, Bolton Octagon, Rum-

worth School


2 disabled artists

1 young disabled artist work shadowing


101

21 sessions

Remix - drama, dance, music, Frii Spray Animation, Visual Arts Music - Zion Centre Manchester


11 disabled artists

2 non disabled artists2 young disabled artists work shadowing

46 sessions

1 event

47 audience

500 on-line audience (FCA blog site)166 You Tube views - animation

Full evaluations of all these projects, films, documents and audio are available from

Full Circle Arts


102

Young participant with her Frii Spray creation. Frii Spray is a digital Grafitti technique

The following working partnerships have been formed with support from

this funding

English National Youth Arts Network

Manchester Youth Arts Network

Cultural Leadership ProgrammeThe Cornerhouse - Livewire

Creative Industries Development Services

Performing Arts Network Development Agency

North West Playwrights

Community Arts North WestLime

The Lowry – community programmes

BBC Extend

Media Trust

Manchester City Art GalleryArtswork – Hub 4

Contact Theatre

Chinese Arts Centre

BADDAC, Bury

Jigsaw Partnerships BuryMet Express, Bury

Proud & Loud Arts, Salford

Oakwood Youth Arts, Salford

So Many Words, Salford

Contact Theatre.Zion Arts Centre

Connexions – all ten boroughs

Tameside Young People ‘s Group

Manchester Metropolitan University Faculty of Arts

Salford University Faculty of ArtsNorthern Actors Centre

Citadel Disability Arts


103

Octagon Youth TheatreGMCDP Youth Drama Group

Dukes Youth Arts Centre

National Mentoring Network

We have given presentations on Source and held workshops with:

Creative Cities – Manchester University

English National Youth Arts Network – Liverpool Maritime Museum

Cultural Leadership Partnership – London

Manchester Youth Arts Network – Man-

chester City Art GalleryEuropean Conference on Mentoring –

Birmingham NEC

Music Leader Project – Manchester

Open day @ Manchester Metropolitan

UniversityCreative Partnerships Exciting Minds

Event - Manchester

Decibel - Manchester Town Hall

Collaborative projects underway with

The Cornerhouse

MMU

Newbridge School

Panda


104

Our work and evaluations can be seen atEvaluations of projects past and present

www.full-circle-arts.co.uk

http://issuu.com/full_circle_arts

We have a flickr account where visitors can see photos of our

events: http://www.flickr.com/photos/fullcircleartsWe also have a youtube account which show films made by and with young

people: http://www.youtube.com/FULLCIRCLEARTS


105

Part of the visual arts exhibition as part of our disabled young people’s Remix project

http://www.full-circle-arts.co.uk

http://www.full-circle-arts.co.uk

http://www.flickr.com/photos/fullcirclearts

http://www.flickr.com/photos/fullcirclearts

http://www.youtube.com/FULLCIRCLEARTS

http://www.youtube.com/FULLCIRCLEARTS

During the project We worked with

73 Disabled artists

9 Non-disabled artists

595 Young disabled people (participants)

107 Disabled and Deaf people (participants)

We had

546 Participatory sessions

12 Performance or exhibition days

2 New commissions

We had

723 Live audience

144,000 On-line audience

31,200 distribution of newsletters

We received funding from

Arts Council EnglandAssociation of Greater Manchester

Authorities

Manchester City Council

Artswork

Cultural Leadership PartnershipMancat (now Manchester College)

Red Eye


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Drawings of participants by disabled participant at Remix

source 2: full circle arts evaulation

Documents